MIXING
Here are selected audio and video examples of my work as a score mixer across recent projects. I work from a purpose-built studio in Sweden and deliver mixes in formats ranging from stereo to 7.1 and Dolby Atmos.
Scoring for screen is a complex, multi-stage process involving close collaboration between music, sound, and production departments, requiring clear communication and careful logistical planning. The mix is a critical stage where these elements come together.
Alongside striving to deliver the best mix, I focus on supporting the composer and wider team by managing the technical and practical aspects of the process - ensuring smooth communication and an efficient workflow so they can stay focused on writing, confident that everything will be delivered on time and sounding great.
Madame Web
Here are two complex action sequences from the giant score I mixed for the Sony Spider-Verse movie Madame Web.
Sony Pictures / Marvel
Ronja The Robber’s Daughter
A few scenes from the new adaptation of a much loved Swedish children’s story with a beautiful and expansive score by Johan Söderqvist. The music features a huge array of Swedish folk instruments and orchestra recorded in Bratislava. Anyone who grew up with the original 1984 movie adaptation will recognise some of the iconic themes that Johan wove expertly into his score.
NETFLIX
We Are Lady Parts
Something a bit different and possibly the most fun show I’ve ever worked on. We Are Lady Parts is a sitcom about a British all-girl muslim punk band directed by Nida Manzoor. I mixed all the songs featured in season 2 and Andy Patterson edited all the music in the show. A couple of my favourites below.
Channel 4 / Peacock
Captain Fall
Hilarious and irreverent adult animated show for Netflix written and directed by the Norwegian creators of Norsemen. Score by Johannes Ringen. For the clip below we had to recreate some music from Alexandre Desplat’s score for The Girl With The Pearl Earring. What you hear is an orchestration by our colleague Vladimir Martinka, recorded in Budapest and mixed by me to match the sound of the original score as closely as possible, I think we did a pretty good job!
NETFLIX
Troll
Another score by Johannes Ringen. A huge symphonic action / adventure score, mixed for the cinema in 7.1. It was so much fun to mix. Listen out for the nod to Greig!
NETFLIX
Black Crab
A dystopian sci-fi movie starring Noomi Rapace with a dark and gritty synth score by collective Dead People. Simultaneously edited and mixed for the cinema by me and my regular partner in crime Andy Patterson under a particularly tight post schedule!
NETFLIX
Battlefield
I edited and mixed many hours of music for both Battlefield I and Battlefield V games composed by Johan Söderqvist and Patrik Andrén, a huge undertaking that covered a couple of years. We recorded orchestra in Abbey Road, Prague and Bratislava as well as many soloists. It was on these games I started working with my now business partner Magnus Walterstad who implemented all the music and I spent many weeks with him as we tailored the score for gameplay. The music mixes ranged from 5.1 mixes for the cinematic content, to stereo in-game material as well as complex stemmed arrangements for dynamic implementation.
EA/DICE
The Limehouse Golem
One of my favourite scores. The film had an epic hammer horror-esque score by Johan Söderqvist as well as some authentic songs and diegetic music performed in a 19th Century music hall by a pit orchestra that we post-synced to the film, arranged by Evan Jolly, recorded and mixed by me.
LIONSGATE
The Emigrants
SF STUDIOS
A multi-award winning score by Johan Söderqvist. One of his best I think.